Karate blocks

[mudansha]

It is hard for someone at the beginning of the journey to understand why we do what we do. The original masters studied this down to an art and a science. They have developed it into a system that works. Some of the most misunderstood aspects of our art is as follows:

Kihon and Kata:

What we are doing when we do our katas and our kihon (Kihon kata, Kihon ippon kumite, sanbon kumite, jiyu ippon kumite, et cetera). We are training the sub-conscience mind to react through repetition. We do our basics so that after training your mind and your muscles after 10,000 high blocks, our bodies know how to do it without thinking about it and that improves our reaction times. As we get higher in rank and we practice the Kihon ippon (Basic 2 step fighting) we teach our subconscience to block and counter automatically.

Stances:

Shotokan is known by its deep stances. We do this for two reasons: to strengthen our legs, and to improve our movements. If one can move quickly from a deep front stance, how well can he move from a yoi stance or a fighting stance? No one expects that in a real fight he will do so from a super-low back stance, or an insanely-low front stance. This is why we practice both traditional stances, and a fighting stance, or more "boxing-esque" front stances.

Exaggerated Movements:

Even if one is not in shotokan and he uses a shallower stance, all karate uses exaggerated movements. In stressful conditions our mind operates in more of an instinctive mode. We get tunnel vision, meaning we lose our peripheral vision, and we react more on training than on thought. With adrenaline and other hormonal changes thrown into the mix, we operate only at about 75% brain efficiency when thrown into this "fight or flight" mode. For this reason, when we train our sub-conscience, we must compensate for this "mental retardation" that happens in this mode. The exaggerated movements insure that when it counts, your block/counter movements will be where they need to be.

This is why traditional "basic" movements are performed exaggerated and the more contemporary jiyyu ippon kumite is more practical from a fighting standpoint.

You will notice that at least in shotokan, the beginning of the journey involves over-exaggerated, seemingly awkward and impractical movements. Once one gets higher in the ranks 5-1st Kyu once notices that the art becomes much more fluid and practical. Once one achieves dan and continues to the higher levels the art brings out even circular movements similar to goju.

One does not need 10 years to acquire a heightened ability for self defense but certainly after 10 years of training, one's sub-conscience mind will be adequately conditioned so that one fighting him might think he is acting on instinct alone.

I am not yet there in my journey. I only have 4 years under my shotokan belt so I have yet to reach the higher echelon of Shotokan training. I am far enough along however to look back on where I came from, and see the road ahead. Those moves that seemed stupid at the time, make perfect sense to me now.

[bushido_man96]

Exaggerated Movements:

Even if one is not in shotokan and he uses a shallower stance, all karate uses exaggerated movements. In stressful conditions our mind operates in more of an instinctive mode. We get tunnel vision, meaning we lose our peripheral vision, and we react more on training than on thought. With adrenaline and other hormonal changes thrown into the mix, we operate only at about 75% brain efficiency when thrown into this "fight or flight" mode. For this reason, when we train our sub-conscience, we must compensate for this "mental retardation" that happens in this mode. The exaggerated movements insure that when it counts, your block/counter movements will be where they need to be.

This is why traditional "basic" movements are performed exaggerated and the more contemporary jiyyu ippon kumite is more practical from a fighting standpoint.

You will notice that at least in shotokan, the beginning of the journey involves over-exaggerated, seemingly awkward and impractical movements. Once one gets higher in the ranks 5-1st Kyu once notices that the art becomes much more fluid and practical. Once one achieves dan and continues to the higher levels the art brings out even circular movements similar to goju.

These are some of the same reasons that my instructor cites. By using big movements early on, and developing muscles, it makes the moves that we "shorten up" that much more powerful.

[Kuma]

Also, if you look at the moment before a block, many times, in many styles there is a cover, then block. Theory has it THIS was the block, or parry, followed by the offensive techniques, which now are a block and strike.

I agree with this as I got a few lumps for not doing this. I was cross-training with a few Shotokan guys and we were doing sanbon kumite and ippon kumite (three step and one step sparring, for those who prefer English terms). For chudan uchi uke I noticed I kept getting hit in the solar plexus area as when I went to the preparatory position my arm positioning was too high. The elbow of my blocking arm was more up near my sternum so by the time the block got there against a fast attack I was already hit. Once I lowered it some, now the elbow of the blocking arm during the preparatory phase is protecting my solar plexus. Now, if the strike hits it's my elbow against his fist, which can sting a bit, and my "block" is now a follow up forearm strike to his wrist or elbow.

I think sanbon kumite and ippon kumite are great tools for learning how to use your blocks, and greatly underestimated tools at that.

[Patcherson]

they teach you to perform an out to in block across your chest, (also found in karate) but then to counter punch you have to reverse direction to the opposite side of your body. To punch in that manner you must stop the force of the block reverse the force to punch. It seems to take a great deal of energy.

The reverse direction as you describe isn't counter-productive. As the block has caused you to go to, for example, the right. The punch is being helped by your hip rotation as you come back from the right into center of your target. Hips are vital and the sooner martial artists understand hip movements and the like, the better martial artists they will be. You must stop the force of one technique before the next technique can begin!

just an extra side note on that when you do a blick in karate the opposite hand always gets "loaded" for next move example is a rising block the hand goes to the waist so it is loaded for a reverse punch

Osu!

Also, if you look at the moment before a block, many times, in many styles there is a cover, then block. Theory has it THIS was the block, or parry, followed by the offensive techniques, which now are a block and strike.

I agree with this as I got a few lumps for not doing this. I was cross-training with a few Shotokan guys and we were doing sanbon kumite and ippon kumite (three step and one step sparring, for those who prefer English terms). For chudan uchi uke I noticed I kept getting hit in the solar plexus area as when I went to the preparatory position my arm positioning was too high. The elbow of my blocking arm was more up near my sternum so by the time the block got there against a fast attack I was already hit. Once I lowered it some, now the elbow of the blocking arm during the preparatory phase is protecting my solar plexus. Now, if the strike hits it's my elbow against his fist, which can sting a bit, and my "block" is now a follow up forearm strike to his wrist or elbow.

I think sanbon kumite and ippon kumite are great tools for learning how to use your blocks, and greatly underestimated tools at that.

my sensai calls this the "double tap" method

as in your lets say "none blocking hand" goes out first and hits the opponents hand out of the way while the other hand follows it to cause damage

[bushido_man96]

I don't like the "loading" of the fist. I think it is a good training tool early on, but eventually, I think that keeping the other hand up in a guarding position needs to be explored more and more. I think that it is more practical that way for self-defense and for sparring, and gives you a more viable tool for defense.

[Killer Miller]

Blocks, or any other technique for that matter, is like playing the guitar. Being president of a guitar society, I get asked quiestions like, "someone said the A chord should be played like this. What is the correct way to play the A chord?"

My answer to them is, "there is no correct way you have to play the A chord because it totally depends of the transition of the previous chord versus the next chord you have to play - proper playing technique should be your primary focus..."

It's the same way with blocks. It really doesn't matter which way you block because it depends on what is coming at you, what the prior technique actions was, and what you need to do next. The important thing is that "you do the actions correctly..."

- Killer -

[joesteph]

It really doesn't matter which way you block because it depends on what is coming at you, what the prior technique actions was, and what you need to do next. The important thing is that "you do the actions correctly..."

This reminds me of my Jeet Kune Do lessons. No blocking is the rule; parry and evade are the two to use. Ideally, you actually punch your opponent before his punch is parried or evaded by you.

But suppose a hook punch is coming at the side of your head and there's just no way to do the above in time? Quick! Raise (and bend) one arm to protect the side of your head, your upper arm shielding below your ear, your elbow facing forward, and your forearm shielding your head above the ear. It's a block that's a necessary exception to the rule. We even did a drill in which we blocked a hook punch that way, then ducked down to evade the hook from the opponent's other arm, and then rose up to deliver two punches.

Killer's right, as I interpret him, that you have to address the given situation.

[tallgeese]

Granted, and I think Killer said it well.

I do think, however, that there are defensive movements that are more useful and realistic than others. That's why I tend to agree with bushido man as well. I don't put alot of stock in the nature of trad blocks. Mainly for the same reasons he put forth. There are simply better tools to accomplish the goals that Miller and joe talk about.

[Killer Miller]

Actually, that's not true. It only takes and inch (or cm) to deflect any type of punch. A sweeping block can be done with the palm of the hand, or with the back of the hand. A hook punch still has to turn at one point to come straight at you - which is still in a relaxed state. Typically you would deflect it with the back side of your hand, deflecting it on the outside of your ear towards their body of face - unless you were sweeping with the other hand, then it would be the palm side sweeping. Regardless it is an easy and very effective technique, but takes time to master because of the complex timing issue you have to learn when using it.

I used this a lot, even with hook punches. I could sweep block, grab, sweep, and then punch or kick faster then you would want it to happen. It becomes second nature when you do it and prastice it a lot.

- Killer -

But suppose a hook punch is coming at the side of your head and there's just no way to do the above in time?

[bushido_man96]

I think that a sweeping block has merit, as well as parries, and even hard blocking to stop a technique outright; I use blocks like this against round kicks all the time, because I am not a quick counter attacker. However, I don't use the chamber motion to do this hard block. I just block from the guarding/hands-up position.